AIPP Journal - November/December 2017

Issue 257

Nov/Dec 2017

10 Ways To Be Professional Mentoring Marketplace Abraham Joffe: Video Producer of the Year

JOURNAL

CONTENTS 4

What Makes A Professional Photographer?

Vittorio Natoli APP.L G.M. Photog. explains that being and acting professional is the key to business success – but what exactly does he mean by ‘acting professional’? Here's a list of 10 examples.

8

Cover

Abra ha m J offe

Working In The AIPP Mentoring Marketplace

A PV P

Is there a way the AIPP can help experienced members enter the education space and create a supplementary income stream? Peter Myers and Peter Eastway discuss the new initiative - what could mentoring do for you?

2017 AIPP AUSTRALIAN PROFESSIONAL VIDEO PRODUCER OF THE YEAR FILM STILL FROM TALES BY LIGHT

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Don't Get Mad, Get Even

AIPP JOURNAL is the official newsletter of The Australian Institute of Professional Photography (AIPP).

Editor Peter Eastway APP.L, FNZIPP, Hon. FNZIPP, G.M. Photog., Hon. FAIPP, FAIPP Disclaimer The information provided in the AIPP JOURNAL and associated publications is made in good faith, but is general in nature. Neither the editor, the publisher or the AIPP accept responsibility for or will be under any liability for any recommendations, representations or information provided herein. The AIPP JOURNAL presents information, opinions and suggestions for subscribers to evaluate in coming to their own decisions in the light of their own individual circumstances. The information should not be relied upon without readers first obtaining independent advice from their own financial and legal advisers.

Unless otherwise noted, all articles are written by Peter Eastway.

Publication The newsletter is published 10 times a year – monthly with November/ December and January/February being combined.

The AIPP JOURNAL newsletter is published by Pt 78 Pty Ltd, ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia.

Phone: (02) 9971 6857; Fax (02) 9971 6641.

E-mail eastway@betterphotography.com Quietly celebrating 25 years of publication.

AIPP Membership Contacts Suite G.03, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: admin@aipp.com.au

2

Sexism in Australia permeates too many levels of our life. Men should behave better, and women should get even!

ISSUE 257 / NOV/DEC 2017 16

The Perfect Exposure Meter!

18

You can buy exposure meter apps for your smartphone or more obviously use the histogram on your camera, but here's a little piece of history about how the 'old timers' used to do it, as told by one of the AIPP's own 'old timers', past-president David McCarthy

Paintings From Photographs Kristina Keaney writes about Maggie Li APP, an AIPP member who uses her photography with a difference.

So, is it a painting or is it a photograph and can you really tell?

22 32

34 38

File Sizing Understanding pixel per inch and file sizes is a little tricky at first, but once you get your head around it, all those pixels will just fall into place!

PPI vs DPI: What's The Difference?

40

In the previous article we spoke very carefully about PPI, but don't printers and screens talk about DPI? So what's the difference and why does it matter?

Panasonic Lumix G9 What makes a suitable camera for a professional photographer? Conventional ideas are being challenged with a raft of advanced features on Panasonic's latest mirrorless Lumix G9.

Abraham Joffe: Passion Projects The AIPP Journal interviews the 2017 AIPP Australian Video Producer of the Year about what it takes to be successful in the competitive worlds of commercial and documentary filmmaking.

48

Two Card Slots? Is This Professional?

What is the mark of a professional photographer? It's not that a professional never makes mistakes, rather a professional never makes easily avoidable mistakes - like losing irreplaceable photos because a memory card failed.

Epson EcoTank Expression ET7750/7700 Looking for a printer that doesn't need a change of ink for two years, prints office documents as well as photographs, and won't break the bank? Check out the new EcoTank Expression models from Epson.

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NEWS

What Makes A Professional Photographer?

Vittorio Natoli APP.L G.M. Photog. explains that being and acting professional is the key to business success – but what exactly does he mean by ‘acting professional’? Here's a list of 10 examples.

TAGS Pro fes s i o n a l i s m Busine s s

4

What differentiates us from a non-professional?

business cost and yes it might be designed to

Why will someone hire us? What is their

protect you, but looked at another way, it’s part

thought process? If clients are going to spend

of the service you’re providing to your clients.

money, how do we show them that we are a

When they work with you, there’s yet another

good investment?

level of trust and confidence.

4. DRESS PROFESSIONALLY

The answer is to act professionally, to

behave professionally, to be a professional. Here

Although we don’t have to wear uniforms

is a short checklist of 10 things you can do to

or suits, we should dress appropriately.

improve and consolidate your professionalism.

This will mean different things for different

1. PROFESSIONAL DESIGN

photographers and clients, but it should be

A professionally designed logo or style is

pretty obvious that if you’re turning up to a

essential. And even though it is 2017, it’s still

wedding or for a corporate shoot, beach wear

a good idea to have professionally designed

is not acceptable. If you want people to spend

business cards. Your logo and corporate

money with you, show them that you care and

design should flow through to your letterhead,

dress professionally.

invoices, email signature, website and

5. BEHAVE PROFESSIONALLY

advertising.

In our dealings with clients, we should

2. BE REGISTERED

remember that the customer is always right,

If you’re a professional, you’ll have an ABN –

even if they are wrong. We should always be

an Australian Business Number. It’s one small

polite, which doesn’t mean our clients can walk

way your clients know that you are a proper

all over us, but our responses should remain

business and it is just one aspect of building

professional no matter how testing they are!

trust and confidence.

Good manners and consideration go a long

3. BE INSURED

way to a positive relationship – and it’s so easy

Do you have public liability insurance? Yes, it’s a

to do.

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5

NEWS

6. BE CONTACTABLE

up front or at the time, so why not the same for

Unfortunately, I hear that a lot of photographers

photographers? Yes, there will be exceptions,

simply don’t reply to emails or telephone

but running accounts adds an extra layer of

calls. If clients can’t contact us or our business

complexity to your business and there are few

immediately, we should be able to respond

photographers these days who need to worry

within 24 hours – and these days, within

about their debtors.

four hours or even less is probably a better aim. If you’re away on a job and unable to

10. COMMUNICATE ABOUT EVERYTHING

respond within 24 hours, then make sure they

We shouldn’t expect our clients to understand

understand this with a website announcement

the nuances of composition, lighting, posing or

or telephone message.

print quality.

7. A PRINTED PRICE LIST

Domestic photographers should have a printed

work with them builds their confidence in us as

or downloadable price list that is clear and easy

professionals, and also justifies why they have

to understand. Commercial photographers

employed a professional photographer in the

may not work this way, but their quotes and

first place.

estimates should still be clear and easy to

understand. We should be using contracts

a good communicator.

or agreements for every job we do. The AIPP

website has sample contracts if you need a

many things we need to learn and do. Even a

hand.

supermarket employee is instructed in how to

8. DELIVER ON TIME

act, how to work and what is expected of them.

If you make a commitment to take on a job,

when is it needed by the client? Under-promise

needs us to understand how we should act and

and over-deliver, but certainly deliver the work

what is expected of us by our clients.

Explaining these things to our clients as we

Don’t assume your clients know anything. Be As professional photographers, there are

Being a professional photographer also

on time. There will be occasions when this isn’t possible, in which case communicate with your client. Act professionally.

9. BE PAID ON TIME Small businesses like ours should be paid up-

6

front or COD (cash on delivery). We can’t buy

vittorio.natoli@aipp.com.au

an airline ticket or visit a doctor without paying

0400 418 888

AIPP PROFESSIONAL PHOTOGRAPHY CONFERENCE

5-6 May 2018. Stay tuned. #lenscape18

Platinum sponsors

7

NEWS

Working In The AIPP Mentoring Marketplace Is there a way the AIPP can help experienced members enter the education space and create a supplementary income stream? Peter Myers and Peter Eastway discuss the new initiative - what could mentoring do for you?

Members often ask what does the AIPP do for

them, especially when it comes to renewing their

professionals wanting a hand in business, or

annual subscriptions.

experienced professionals expanding their

understanding of new markets and technology.

The new Mentoring Marketplace is the

And students might be less experienced

AIPP doing 'something' that will be of value to

The difference lies in the personal experience

experienced and newer members alike.

that is being passed on. In a workshop or a classroom, the 'teacher' may or may not have

WHAT'S MENTORING? WHY IS IT DIFFERENT TO WORKSHOPS & SEMINARS?

personal experience of any great depth in the

The AIPP has defined 'mentoring' as the passing

profession to access the type of experience long-

on of experience, while 'education' is the passing

time AIPP members have accumulated through

on of knowledge.

years in the job.

It could be argued that mentoring, by

definition, must also be education, because

subject being taught, whereas a mentor does.

It is currently difficult for newcomers to the

The Mentoring Marketplace aims to be a

conduit between the mentor and the student.

experience is a sub-set of knowledge, but there is

to put experienced photographers in touch

DOES MENTORING REPLACE WORKSHOPS, CONVENTIONS AND COLLEGES?

with students who want to learn about their

The key point about the Mentoring Marketplace

experience.

is that it is about an experienced photographer

passing on his or her knowledge to students.

a reason for distinguishing between the two.

8

The Mentoring Marketplace is designed

That experience might be how they run a

business, how they light a subject, or how they

While this may also happen to some extent

use Photoshop.

at workshops, conventions and colleges, these

•

Kevin Chamberlain APP M.Photog. I 9

•

Bec Thomas APP AAIPP

10

NEWS

are not one-on-one or small group interactions,

that they are capable of providing high quality

nor is the teacher necessarily passing on personal

services.

experience.

they are sharing with students and the need for

The Mentoring Marketplace is principally

Mentors should consider the nature of what

designed to provide highly personalised

professional indemnity insurance.

interaction between mentor and student.

endorsed by the AIPP, but naturally the AIPP is

We believe that workshops, conventions,

The content being provided is not being

colleges and photo tours will continue broadly

vested in providing a high quality product.

unaffected by the Mentoring Marketplace.

The AIPP will be providing guideance for mentors on how to establish their mentoring programs.

WHAT IS THE MENTORING MARKETPLACE? WHAT DOES IT DO?

The Mentoring Marketplace (MM) will be a

credentials will also be able to offer mentoring

website where students can find mentors who

services.

For non-photography specific subjects,

such as business and marketing skills, nonAIPP members with suitable experience and

are able to help them. and eligible members will be able to offer their

HOW WILL THE MENTORING MARKETPLACE WORK?

services to other members and non-members

The MM will host a listing of mentors and the

alike.

types of programs/subjects that are on offer.

The MM will be administered by the AIPP

You won't have to be an AIPP member to be

Students will be able to browse the MM

a student, but you will have to be an eligible AIPP

based on, for example, genre, subject or mentor,

member to be a mentor.

and they will also be shown feedback from other

students using a star-rating system.

The AIPP will be actively marketing the MM,

but mentors should also do their own marketing

Mentors can provide any number of different

to optimise their opportunities.

programs and they determine what they wish to charge. It is a 'marketplace' for mentoring.

WHO CAN BE A MENTOR? minimum of five years experience may apply to

WHO WILL ADMINISTER THE STAR RATING SYSTEM?

be a mentor.

Like the Trip Advisor website, students will be

invited to rate their experiences. These ratings

Accredited Professional Photographers with a

Mentors will also have to satisfy the AIPP

11

NEWS

will be visible to other students, encouraging

discussed. A starting point is an annual fee of, say,

mentors to provide excellent services.

$100, plus 10% commission which is paid to the

AIPP to keep the program running.

However, there will be a protective measure

where very low star ratings are followed up by an

But please note, fees and commissions are still

AIPP administrator, to ensure any negative ratings

the subject of discussion!

are genuine and reasonable. Similarly, mentors

will be able to rate challenging students so other

on commercial pricing and sales pitching.

mentors are aware!

For example, a member provides mentoring She charges $250 per person for a 4-hour

online mentoring session with a minimum of

WHY WOULD I ADVERTISE ON THE MENTORING MARKETPLACE?

two people per session.

There are a lot of photographers offering

finanes might look like:

education of all types on the internet, but how

• The total income generated is $5,000;

does a buyer know if these teachers are any

• Annual fee paid to the AIPP is $100;

good?

• Commission on mentoring fees paid to the AIPP

is 10% of $5,000 = $500

Offering your services through the

Demand is such that the mentor delivers 10

of these sessions per annum: Here's what the

Mentoring Marketplace will give you an external

• Net income to the member from mentoring

endorsement - to be an AIPP Mentor will require

that year is $4400.

you to meet certain basic standards and your

performance will be monitored by your students

charged, but obviously mentors will need to be

as well. It is an environment of trust.

competitive or have a unique selling proposition

for a higher fee.

In addition, the AIPP will be actively

It is up to the mentor how much is

marketing the MM, plus you have the built-in

membership of the AIPP as a client base.

based on experiences already on hand), it is

TAGS

hoped that experienced members will leverage

M en to r i n g

each mentor, but the AIPP is hoping it will be

the MM to generate a little extra revenue - which

valuable to all concerned.

in turn will make their annual AIPP subscription

In the end, it will be a business decision for

With very little work (given mentoring is

even more attractive!

12

WHAT DOES IT COST TO BE A MENTOR?

At present, the cost to be a mentor is being

to a Board member..

If you have queries or suggestions, please

contact Peter Myers at the National Office or talk

•

Adam Levi Browne APP AAIPP

13

EDUCATION

Don't Get Mad, Get Even Sexism in Australia permeates too many levels of our life. Men should behave better, and women should get even!

TAGS S ex ism

14

I struggle a little with sexism because I don't see

picked me up one morning in her VW and

it in my life and I don't practise it. However, I am

drove me to the camera store. She gave me

painfully aware that this is not the experience of

$900 for my wallet and an extra $50 for my

many of my female friends. Even worse, I know

shoe. She told me exactly which camera she

I have male friends who behave poorly when it

wanted and sent me in to get it.

comes to women - and I just don't get it.

the Rolleiflex SL66, thought about it carefully

Nor do I profess to have a solution, but I

I walked up to the counter, asked to look at

have a little story which may explain why I don't

and then offered the manager $900 cash.

practise sexism. Please take it in the spirit is it

given, because I realise having a male write

offer without a word. I walked back to the car

about sexism may be a difficult starting point.

and handed the camera over to Elizabeth with

the remaining $50.

At the age of 19, I joined the Mosman

The manager immediately accepted my

Camera Club where I met Elizabeth Lough, a

woman my mother's age. We became great

the bit I love: The next day, Elizabeth drove

lifelong friends.

back to the camera store to pay a visit. As she

described it to me, she waltzed into the store

Back in 1977, Elizabeth wanted to buy

Elizabeth had been exactly right, but here's

a second-hand Rolleiflex SL66 from Graces

with the camera around her neck and waved

Camera Store in Kings Cross, Sydney. She had

it under the manager's nose, all the while

visited the store several times and had offered

humming a little tune.

the manager $950, but the manager said the

camera was $1500 and wouldn't drop the price.

shouldn't get angry, they should get even. And

I have just hoped women are laughing at the

Elizabeth believed the only reason he

The lesson I was taught is that women

wouldn't budge was because she was a

men who think that their male gender gives

women. I didn't quite understand this at the

them an advantage.

time.

think a little more about how we act.

Elizabeth's solution was as follows. She

It's not an answer, but I hope it makes us all

Proudly supporting the AIPP ATKINS PRO LAB

ATKINS PRO LAB

15

EDUCATION

The Perfect Exposure Meter!

You can buy exposure meter apps for your smartphone or more obviously use the histogram on your camera, but here's a little piece of history about how the 'old timers' used to do it, as told by one of the AIPP's own 'old timers', past-president David McCarthy

TAGS Pro fes s i o n Pr in ts Album s Sales Busine s s

Young Mr McCarthy keeps a keen interest in

• It is recyclable!

all things photographic and from time to time

touches base with the AIPP Journal.

that without a back light display, this metering

system isn't much good because it can't be

On this occasion, the item of interest arrived

in our inbox a few minutes after an advert had

read in the dark, but if it really was dark in the

flashed past on Facebook, touting the virtues of

pre-digital days, you wouldn't have been taking

a new light meter you could attach to a smart

a photo anyway!

phone.

So, how does it work?

Let's assume you're using 100 ISO (ASA) film

Had David seen the same advert? Here's his

email:

and you're shooting in “Bright Sun (Normal)".

About 50 years ago, a WW2 ex-RAAF

Refer to the exposure meter and find the

photographer gave me this ‘exposure meter’.

respective numerical values. Under Scene

Printed and folded on a small piece of paper,

Brightness in Table A, you'd take 10 and from

apparently it was given to all Defence Force

the Film Speed (Table B), you'd take 5.

photographers to enable them to get accurate

Now add the two numbers together: 15.

exposures for their photography in all light

Now refer to Tables C and D. You can use any

conditions and with all films. Here are some of

combination of shutter speed and aperture as

it's benefits because it really works!

long as their values add up to 15.

• No batteries are required;

• It doesn’t break when dropped onto

(value 7), you need to find the aperture with

concrete - or from an aircraft or into water; • Ambient temperatures don’t affect the reading; • It doesn’t cost much; and

16

Now, I realise some readers might think

So, if you wanted to shoot at 1/125 second

value 8 (being 15 - 7), which is f16.

Therefore your exposure is 1/125 at f16.

Neat, eh!!

And they reckon we have good stuff now!

17

EDUCATION

Paintings From Photographs Kristina Keaney writes about Maggie Li APP, an AIPP member who uses her photography with a difference. So, is it a painting or is it a photograph and can you really tell?

Maggie Li at work.

TAGS Po r trai tu re

Maggie Li is one of just a few in the world who

if he ever found it, as to him, it was a distraction

can skilfully duplicate a photograph using

taking me away from the right path in life.

canvas and oil paint. Her finished work is of

such a high calibre it looks almost identical to

could not live, could not breathe without, so I

the original photograph. This consumer trend

continued to create, whether it was painting

of turning photographs into paintings is quickly

or drawing. I just had to become an expert in

gaining popularity here in Australia.

hiding it from my parents,” she says.

Without marketing or advertising her

Maggie’s “overpowering” passion for the

business, Maggie is always booked out months

arts was so strong, she could hardly focus on

in advance, just through word-of-mouth. But

anything else growing up – and this included

her journey to her “dream job” hasn’t always

school.

been smooth sailing. Below is her story.

interest in it whatsoever – so I failed university

Five-year-old Maggie’s heart raced wildly as

“My math was absolutely terrible – I had no

she hurriedly tried to finish an acrylic portrait of

entry exams and my father was devastated,”

her teddy bear before her father returned home

says Maggie, who now lives in Donvale in

from work. But it wasn’t fueled by excitement. It

Melbourne east with her husband and two

was fueled by fear.

children, aged 9 and 15 years old.

“Growing up in communist China, my love

As a “Plan B”, using his military contacts,

for the arts was my big shameful secret.

Maggie’s father lined up a well-paying security

job for her.

"My father wanted me to excel in math,

chemistry, physics and the like in order to have

a good comfortable future,” says Maggie Li who

provided income and employment security, but

immigrated to Australia in 1999.

after a month I realised it was more terrifying

to spend the rest of my life doing something I

“My father, who has a military background,

was very strict and would angrily rip up my art

18

“But creating was an aching passion I

“It was working for the government, which

hated than confronting my father, so I quit and

19

EDUCATION

enrolled in an arts degree.”

them into acrylic paintings does just that; it

gives photography a classy, timeless, royal look

After graduating with a major in graphic

design, Maggie continued to develop her

and more and more families want to preserve

creative skills. While working as an interior

their memories in this unique way,” says Maggie.

designer, she began to use photography to

display her ideas and from this, a lifelong

portraiture, Maggie reached out to her idol

passion was born.

William Branson, who is based in the USA. She

Maggie not only designed her customers’

then travelled to North Carolina for intensive

interiors, she was now taking photos of their

one-on-one training with him.By the end of

families, children, babies and pets, as well as

the course, William was just as impressed with

their weddings.

Maggie’s talent and skills as she was with his.

After completing a university degree in

To learn more about the art of realist

Said William, “Maggie takes portraiture to

photography to solidify her skills and natural

another level – one that very few artists in

talent, she knew professional photography was

the world are capable of doing. She is one of

her destiny.

the most qualified portrait artists I know. She

continually pushes the envelope to deliver to

One chilly winter morning a few years ago

– inspired by the work of “the world’s leading”

her clients the finest in portrait art."

realist portrait painter William Branson III –

Continued Maggie, “When I am not asleep all

Maggie cleared her diary, locked herself in her

I can think about is my art,” says Maggie.

home studio and sat in front of a large blank

canvas and a photograph.

Ringwood – years to adjust to her career choice.

“I wanted to find a way to combine my skills

It took Maggie’s father – who now lives in “Now my father is immensely proud of me

as a painter and a photographer.

and tells everyone who’d listen about my work.

“By first taking a photograph to be used as

“He’s even asked me recently to do a portrait

a reference, subjects are no longer victim to a

of him and my mother, saying he wants to

painter’s interpretation of what they look like

proudly display it on his lounge wall”, says

and there is also no need for hours and hours of

Maggie.

posing.

“I wanted to give photography a more

lasting life and a more beautiful finish; turning

See more of Maggie's work at http://maggieli.com.au/

Did you pick the photo on the first page as a painting? Or was it a photo? Or are you still not sure? Keep looking before you read the answer - the painting has a yellow signature.

20

21

FEATURES

Abraham Joffe: Passion Projects The AIPP Journal interviews the 2017 AIPP Australian Video Producer of the Year about what it takes to be successful in the competitive worlds of commercial and documentary filmmaking.

If you visit the Untitled Images website (http://

Video Producer of the Year (which was earned

untitledimages.com.au/), owned by Abraham

by Jared Kettle APVP)!

Joffe, you’ll discover a show reel of world-class wedding videos.

INSIGHT

Four or five years ago, Abraham made a

However, Abraham Joffe himself shoots very

few wedding videos these days, concentrating

conscious decision to move into commercial

on commercial and documentary productions

and documentary work.

through his business Untitled Film Works

(http://untitledfilmworks.com.au/)

his business and employing creative and

experienced staff, he was in a position to

And perhaps this explains why Abraham

won the 2017 AIPP Australian Video Producer

explore new areas.

of the Year, the 2017 AIPP Australian Corporate

Video Producer of the Year and the 2017 AIPP

(he was also recognised as a Canon Master in

Australian Documentary Video Producer of the

2013) and he found himself shooting a wide

Year. But not the 2017 AIPP Australian Wedding

variety of corporate work featuring other Canon

Abraham Joffe ACS on location.

22

Having built up the wedding side of

One of his key clients was Canon Australia

23

FEATURES

Masters, in some pretty exciting locations all

professional quality remains important because

around the world.

clients simply expect it. Everyone’s an expert

Awa rds Po r tfo l i o D o bia Po r trai tu re

when it comes to watching television, so they

Canon, the highly successful television series

quickly notice any loss of quality, even if they’re

that is just entering its second season, with the

viewing it online.

third season already in production. And last

month, he was awarded his ACS accreditation

today that not having the equipment simply

– the highest honour that can be bestowed on

isn’t an excuse. There’s no barrier to entry, so if

members of the Australian Cinematographers

someone has a great idea or story to tell, there’s

Society.

nothing to hold them back.

However, Abraham will be the first to

“Camera capture technology is so affordable

“There’s also been a bit of a shift in the

volunteer that the work he does is as leader of a

commercial area. In the past, large companies

team.

would promote their brand with the help

of an advertising agency, especially if they

Unlike stills photographers who are more

likely to work solo than in collaboration,

were producing television commercials. Now,

the world of video production has many

especially with the shift to online delivery,

disciplines and it is usual to surround yourself

brands are starting to also work directly with

with a team of like-minded professionals with

small production houses and single-owner

complementary skill sets.

operators.”

TAGS

He also pitched the idea of Tales By Light to

“As a company, our strength is in storytelling

with cinematic visuals.

BUILDING A REPUTATION

While Untitled Film Works is busy as a

"We work with brands who want authentic,

story-driven content that isn’t a direct-sell

production house, Abraham says it’s important

to the end user, so it’s a good time to be a

to keep expanding his client base – and he does

cinematographer who enjoys the craft of

this by producing one or two ‘passion’ projects

filmmaking and storytelling.”

each year.

“Passion projects are a great way of saying

QUALITY ISSUES

to the market, ‘We’re here – look at what we can

Abraham notes that while there have been

do’.

huge changes in the industry over recent years,

"For instance, our Ghosts of the Arctic was a

Film stills from the first series of Tales By Light by Abraham Joffe, currently showing on Netflix.

24

25

Check out Joshua Holko's Ghosts of the Arctic which won a Gold with Distinction for Abraham this year. While Josh looks cold, just remember Abe is there filming him! https://vimeo.com/226201181

26

FEATURES

passion project we did with Joshua Holko and

to hide, but if their products are great, then

it has really opened up a lot of opportunities

everyone will know so.

within the travel sector.

a single brand these days, rather they follow the

“People ask how do you get into

“And I think people seem less committed to

documentary or story-telling production and

equipment with the features they need.

to some extent, it’s a matter of putting the cart

before the horse. You need to shoot the work to

to change so much is the glass. Invest in top

get the work, so I figure no matter what stage

glass because although cameras can change

of your career you’re at, you need a few passion

regularly, quality glass should last for many years

projects.

to come.”

"However, one thing that doesn’t tend

"And they are really quite liberating with no

limitations on your creativity. A lot of our best

CAREFUL EDITS

clients have come from our passion projects.”

Abraham has a surfeit of equipment, but he

laments (half-heartedly) that sometimes it’s

Nor do you need to travel to the ends of the

Earth to shoot a passion project. While it’s true

good to have less gear.

Abraham has travelled all over the world (he’s

up to 55 countries on all seven continents),

and sometimes it can be liberating to have less

he’s seen amazing material photographed in a

– just a camera and a couple of lenses. It forces

director’s own backyard.

you to work with what you have and at the end

“I’m guilty of taking too much out on a job

of the day, the power of your production is in

KITTING UP

the strength of the story and your ability to tell

The same approach can be taken to equipment.

it.

While we’d all love to have the latest and

greatest, and Abraham certainly does, he warns

Often the editor hasn’t been on location with

it is very easy to fall into the trap of becoming

you, so he or she doesn’t have the same biases

addicted to the next camera and chasing

you do.

technology for the wrong reasons.

for five hours to greet the sunrise, you’d want

“You can easily go broke buying every new

“This is why I love working with an editor.

"For instance, if you walked up a mountain

camera that arrives, although with so much

to be sure that scene was in your film, even if

online education these days, you can also be

the clip isn’t progressing the story. An editor, in

very informed before buying your next camera

comparison, will make a choice based on what

or drone. There’s no place for manufacturers

it really is. Often less is more and cramming

27

FEATURES

everything in only weakens the end result – and

this is a decision a good editor will make for

you also need to be good with other people –

you.”

cast, crew and especially clients.

One aspect that is often forgotten by stills

And as much as being good at what you do,

“I think you’re always selling yourself,

photographers looking over a video producer’s

whether you’re a photographer or a filmmaker.

shoulder is the importance of good sound.

You have to be a salesperson and you also have

to be a good communicator.

“Anyone who has been to film school has

been taught that sound is 50 per cent of the

production. I’d probably argue it’s 55 per cent

everyone in the world has great imagination, so

because good sound will carry poor visuals, but

we shouldn’t stretch our clients’ imagination too

strong visuals won’t carry poor audio.

far.

“Most camera operators are visual people,

"I need to say this delicately, but not

"When you’re pitching an idea to them, you

obviously, so they have no trouble spending

need to show them something that’s as close

money on good cameras and lenses, but they

as possible to what you’re planning - and this is

might only take one or two microphones. This

another reason why it’s so important to have a

doesn’t necessarily make sense.

diverse portfolio.”

“On Tales By Light, I worked with Nylon

Studios and it was a big education as to what

creating short films for small businesses, so they

you can achieve with talented sound designers.

need to understand and empathise with the

Their work totally elevated the pictures – great

client.

sound makes your pictures look better!

small business, so simply capturing this passion

“So, plan your sound before you go out on

location, just like you plan your visuals.”

Many video producers find themselves

“There’s usually a lot of passion behind that

you’ll create authentic content – the sparkle in someone’s eyes as they talk about what they do,

MARKETING PLANS

whether it’s an artist or a carpenter.

And plan your marketing and business as well.

Life as a successful video producer doesn’t just

about what we do.

happen, it’s all about planning and running an

enterprise.

passionate about their craft. It’s not just about

“And similarly, we need to be passionate "Clients gravitate to video producers who are

Opposite: Think of a country and Abraham has probably been there! Abraham Joffe has visited 55 countries on all seven continents - and it shows in his work!

28

29

30

FEATURES

the bottom line.”

you want to create and these mood boards can

also be a valuable reference later on the shoot.

Abraham says sharing his work with clients

covers a range of platforms and formats.

Interactive PDF pitch documents with links to

boards and storyboards are pretty organic

YouTube or Vimeo have become popular in

because you never have a completed script for

recent years and it’s important to remember

this type of work. However, what they can do

that people rarely have time to watch an

is give guidance to everyone involved with the

entire short film when they are assessing your

project, whether the client, cinematographer or

presentation.

stylist.

“Whether it’s a client reading a presentation

"However, in the documentary space, mood

So, how does Abraham Joffe feel about

or a consumer surfing the net, people want

being the 2017 AIPP Australian Video Producer

small, bite-size pieces of content, especially if

of the Year?

they’re watching online.

a lot when they are awarded by your peers. And

"Attention spans these days are incredibly

“Awards are great accolades and they mean

short – often just a matter of seconds. There’s

entering awards can be a great motivator for

also a trend towards silent videos with subtitles

producing and presenting your best work.

because so much content is now watched on

mobile phones.”

my email signatures because they give you a

“I use the awards on my websites and in

certain level of credibility.

WINNING AWARDS

However, you need to share your ideas with

effort and it’s always great to go out to lunch

your clients as clearly as possible and this is

and celebrate.”

where the pitch document comes in.

for Untitled Film Works.

It might contain fully edited examples that

"However, at the end of the day it’s a team

Perhaps there were three lunches this year

are very close to the proposal, or it might be a series of mood boards using still photos to get the feeling across.

You can see more of Abraham's work at

http://untitledfilmworks.com.au/

“It’s a matter of putting the right images in

front of people to convey the feeling of what Opposite: Abraham's productions use a variety of unusual camera angles extensively, but it's not just drones that give him a different viewpoint. Small radio controlled toys can also carry a camera close to dangerous subjects.

31

EDUCATION

Two Card Slots? Is This Professional?

What is the mark of a professional photographer? It's not that a professional never makes mistakes, rather a professional never makes easily avoidable mistakes - like losing irreplaceable photos because a memory card failed.

TAGS Pro fes s i o n a l i s m

32

When you go to a doctor, hire a lawyer or

you'll still be able to deliver the brief. The client

engage an architect, there are certain things

still gets the 20 photos they paid for and you

that are just 'assumed' because you believe

probably won't discuss the lost opportunities.

they are professional.

and the card fails during the shoot, you're

A doctor won't operate on the wrong leg,

Similarly, if you're shooting a family portrait

a solicitor won't let you sign a contract with

probably in a position to re-shoot the portraits

disadvantageous clauses and an architect won't

without major complications. Even after the

design a house that falls down.

shoot, you may be able to shoot again.

And professional photographers won't lose

But what about a wedding photographer

clients' irreplacable photos because a memory

who has just photographed all the family

card failed.

groups outside the church and an hour later,

the card fails? Those photos can't be taken

We will all experience memory card failure at

some stage, so what is the solution?

again and nor would it be reasonable to round

up all the families and pose them again.

The most obvious solution is to use a

camera that holds two memory cards and can

backup files to the second card as you shoot.

use a camera with two cards? The technology

is here. It is not unreasonably expensive.

Now, not all cameras have two card slots, so

Surely a professional in this situation would

does that mean you shouldn't use them? This is

And it goes to the heart of who we are as

a professiona decision.

professionals.

The question we need to ask is, having taken

So, yes, two card slots is professional and if

the photos, can we afford to lose them? So, if

you're shooting situations that can't be re-shot

a client wants you to come back from a week

easily, you should be using one.

long shoot with 20 great photos, losing an

afternoon's work might be disappointing, but

Facebook AIPP Community page.

Agree or disagree? Have your say on our

Twin card slots are becoming popular on many cameras, not just the top of the line pro models. Above, Panasonic's Lumix GH5 and below, Nikons D800.

33

EDUCATION

File Sizing Understanding pixel per inch and file sizes is a little tricky at first, but once you get your head around it, all those pixels will just fall into place!

Our digital files are made up of 'pixels' and a typical 24-megapixel sensor might measure something like 4000x6000 pixels. This means that the photograph measures 6000 pixels wide by 4000 pixels deep, but how big are those pixels?

The pixels on our sensor are tiny. In fact,

we're fitting those 6000 pixels into an inch and a bit. So each pixel might be just 0.0002 of an inch across.

Now enlarge that image and all those pixels

onto an A4 sheet of paper, and each pixel becomes around 0.02 or 100 times larger.

As we magnify the image, the pixels get

magnified as well. The amount of magnification is called the 'resolution'.

The smaller the resolution number (say, 72

dpi compared to 300 dpi), the larger the image, which is perhaps confusing!

TAGS Tech n i q u e Po st-Pro d u c ti o n

Take the chequerboard opposite. It contains

40 pixels horizontally by 30 pixels vertically.

When it is small, say one inch across, it has a resolution of 40 pixels per inch - 40 ppi.

34

If we enlarge this image to five inches across,

we haven't added any more pixels, we've just

span five inches, which is equal to 8 pixels per

made them larger. So, those same 40 pixels now

inch - 8 ppi.

40 PIXELS OVER 1 INCH = 40 PIXELS PER INCH OR 40 PPI

y l t c a x e e r a There r e b m u n e m a the s e e r h t l l a n i s l e of pix . s d r a o b r e u q che

The differe nce is in how squ ashed together t he pixels are when p rinted or displaye d on a screen.

40 PIXELS OVER 5 INCHES = 8 PIXELS PER INCH OR 8 PPI

40 PIXELS OVER 10 INCHES = 4 PIXELS PER INCH OR 4 PPI

EDUCATION

When we increase the size of the image to

Let's change the resolution. While 72 ppi is

10 inches, the resolution drops to just 4 pixels

okay for a computer monitor, it's no good for a

per inch.

print, so let's set 360 ppi. This is what happens:

REAL EXAMPLES So, let's take a real example where we have a file that measures 6000x4000 pixels.

When we open it in Photoshop, we might

see a screen something like this.:

You can see that at 360 ppi, the image size

drops from 83.333 to 16.667 inches. Again, simple arithmetic.

PIXELS MATTER The takeaway is that no matter what your

36

The Image Size tells us the size of the file

resolution setting is, it's the total pixel

without compression and the Dimension show

dimensions that matter.

us how many pixels we have in the file. You can

see the 6000x4000 pixels listed below.

pixels across, it doesn't matter if the resolution

is 72 ppi, 360 ppi or any other number because

Note also that the Resample button is NOT

If it is important to have a file that is 6000

ticked. This means that the number of pixels in

the resolution can always be changed to suit

the photo will not be changed - we won't add

the purpose.

or subtract pixels. We will keep our 6000x4000

pixels.

file from 72 to 360 ppi as shown above, the

overall size of the file does not change (you can

In the middle, you can see that the

In other words, if you resized the 6000 pixel

width is 83 inches, the height 55 inches and

see it has remained at 91.6 MB).

the resolution 72 pixels. This is just simple

arithmetic. If you have 6000 pixels across and

will look at the ppi setting to determine how

you are going to reproduce them at 72 ppi, the

large you want the image to look. A common

result will be 83.333 inches across.

example is when you are printing your file.

So what has changed? Well, some programs

So, if you printed our file onto paper, at 72

first thing we do in Photoshop is to tick the

ppi it would be 83.333 inches wide, while at 360

Resample box.

ppi it would be a smaller 16.667 inches.

you can resize the file within the Image Size

The resolution is important to tell the printer

how big you want the print to be. However, if

From here, there are a number of ways

dialog, but the most obvious is as follows:

you want a different size print, you can easily change from 360 ppi to something else without any loss or gain of information.

Alternatively, in other programs and in

other situations, the resolution setting is ignored and the file is resized automatically.

So, when you tell Photoshop to fit the file on screen, Photoshop ignores the resolution setting and distributes the pixels across the

screen to show the whole photo (in fact, it

left shows lines connecting the width and

is often discarding pixels to do this, but let's

height values. This means you will retain the

not confuse the issue).

original ratio or format of your photograph.

PIXEL COUNT

First, make sure the link icon on the

Next, change the units in the right

dropdown box to Pixels. Now type in the

In the online world, we are often asked to

number of pixels you want - we need 2000

supply files that are, say, 2000 pixels at 72

pixels for this example.

ppi. However, if those files were supplied at

300 ppi, does it matter? In most situations,

but only because we have't changed it.

the answer is no because the 'situation' or

Notice also how the Image Size has dropped

software that uses the files will ignore the

to 10.2 MB from 91.6 MB - which makes

resolution (ppi) setting. As long as the file

sense because we are downscaling a 6000

has a width of 2000 pixels, all is well.

pixel wide image to just 2000 pixels wide.

Note that in this discussion, we have not

Notice that the resolution is still 360 ppi,

Sometimes it takes a little while for this to

resampled the file. We have kept it the same

sink in and the good news is, if you make a

6000x4000 pixels.

mistake, hit undo and start again!

How do we change the file from 6000

to 2000 pixels if this is what is required? The

We'll look at ppi and dpi and how they

work together in a future issue.

37

EDUCATION

PPI vs DPI: What's The Difference?

In the previous article we spoke very carefully about PPI, but don't printers and screens talk about DPI? So what's the difference and why does it matter?

There are lots of measurements in photography

at 720, 1440 or 2880 dots per inch.

and the one that causes the most confusion is

PPI and DPI.

how many pixels you have in the file, you will

When you make a print, it doesn't matter

always be printing at 720, 1440 or 2880 dots per

PPI VS DPI

inch. Usually there are more dots than there are

PPI is pixels per inch. You can have pixels per

pixels, so every pixel from your camera sensor

centimetre as well, but we generally talk in

might be represented by 10, 50 or 1000 dots

terms of inches – not all countries in the world

when reproduced on paper.

went for the decimal system like Australia.

same as a dot from your printer.

DPI is dots per inch. So the question is,

A pixel from your camera sensor is not the

what's the difference between a pixel and a

dot?

as a dot or a pixel on your computer monitor

or screen - necessarily. When you enlarge your

Camera sensors have pixels. Inkjet printers

have dots.

Nor is a pixel from your camera the same

images on screen to 100%, what you are doing is allocating one pixel from your sensor to one

TAGS Tech n i q u e Po st-Pro d u c ti o n

38

MORE DOTS THAN PIXELS

pixel or dot on your computer monitor.

A camera might have a 24-megapixel sensor

with 6000 pixels across the long edge. As we

manufacturer, screens can be described in

have seen, if we enlarge the image captured

terms of pixels or dots, which is confusing.

with that sensor, we might end up with 1000

However, think of screens as using dots, the

ppi, 500 ppi or just 10 ppi, depending on how

same as printers, and you'll understand the

big we make the photo.

difference between dots and pixels.

Now look at printers, in a simplified way.

Depending on the technology and the

The quality of your file is limited by the

Printers use a print head to put dots of inks on

number of pixels you have, rarely by the

the paper. The Epson printers, for example, print

number of dots your printer or screen can show.

s e r u s a e m a r A came n i n o i t u l o s e r s it pixels.

A printer m easures its resoluti on in dots. How ever, there are u sually lots of dot s for every pixe l.

39

NEWS

Panasonic Lumix G9 What makes a suitable camera for a professional photographer?

Conventional ideas are being challenged with a raft of advanced features on Panasonic's latest mirrorless Lumix G9.

TAGS Equ ip m e n t Ca mer a Lumix G 9

When buying a camera for work, there are many

camera available that can do it all.

things to consider.

the Lumix G9 can become the heart of a truly

Photographers from last century would have

With a stable of 31 interchangeable lenses,

had two or three camera formats for different

versatile professional outfit.

types of work and in many ways, it’s no different

today.

to turn there are so many opportunities for the

G9.

One minute we’re shooting stills for a

Panasonic possibly doesn’t know which way

website, the next it is video for YouTube and

The launch event featured sample wildlife

then we need some time lapse or perhaps it’s a

photographs taken in Africa with a new 200mm

high-res file for a billboard.

f2.8 DG Elmarit, the equivalent of a 400mm super-telephoto on a full-frame DSLR.

40

NEW LUMIX G9

The Panasonic Lumix G9 is possibly the closest

size and weight of equivalent DSLR lenses and

However, this new lens is a fraction of the

It can be c hallenging show in an to online pub lication just how s ignificant a differenc the 80-me e gapixel ca pture is, bu check out t the detail in the red roof tiles o n the right . Full frame image abo ve.

41

Does imag e stabilisin g really work? It do es on the L umix G9 a this one se s cond expo sure show It was han s! d-held, pro ving the limitation isn't the eq uipment, it's your ch oice of sub ject!

42

NEWS

with matched 1.4x and 2.0x teleconverters, it

a multi-shot workflow.

makes a compelling alternative to the wildlife

photographer’s traditional big lens arsenal.

tripod mounted, but more importantly your

subject can’t be moving either.

Even more so with some of the mirrorless

The camera can’t move and needs to be

features available, such as 20 or even 60 frames

Interestingly, a photograph of a giraffe was

per second capture.

on display at the camera launch, taken with the 80-megapixel feature; the giraffe was obviously

80MP IMAGE QUALITY

stationary during the exposure and the quality

As professionals, image quality is something

was excellent, but the feature wouldn’t have

that just has to be right and with a

worked if the giraffe had been on the run.

20-megapixel Digital Live MOS sensor, the G9

is in the same ballpark as Canon and Nikon’s

medium format market to consider.

This feature is certainly a challenge for the

flagship professional workhorses.

Of course, both Canon and Nikon also offer

IMAGE STABILISATION

models with significantly more pixels - and so

Panasonic permits both in-camera and in-lens

does the Lumix G9. In fact, the G9 beats all the

image stabilisation. When both are available,

current DSLR and mirrorless cameras with an

it’s called Dual I.S. 2 technology and combines

80-megapixel equivalent capture mode. How

5-axis internal stabilisation with the optical

does this work?

stabilisation found in many of Panasonic’s lenses

(or if the lens isn’t stabilised, the in-camera

Reading between the lines, the same in-

camera technology that provides Panasonic’s

stabilisation works on its own).

image stabilisation (which physically moves or

'shifts' the sensor around), also shifts the sensor

permits up to 6.5 stops of image stabilisation.

during a multi-shot routine for high resolution

How useful is this? Incredibly useful, especially

capture. Eight exposures are made in quick

with long telephoto lenses and in low light

succession and saved as either a JPEG or raw

situations when you’ve run out of ISO. Whether

file, measuring 10,368x7776 pixels.

a wildlife or wedding photographer, this is a

must-have feature for both stills and video

That’s plenty of pixels for the odd time you’re

The Lumix G9 includes a new algorithm that

shooting a big file for a billboard or wanting to

shooting.

make large exhibition prints. Or just impress a

client.

able to hand-hold a 1 second exposure and

produce a razor sharp result - at least for

Now, obviously there are some limitations in

So, how good is it? The AIPP Journal was

43

NEWS

that part of the subject that wasn’t moving!

set to not only recognise the human body and

The breaking waves in the background were

prioritise it for focusing, a Deep Learning feature

significantly blurred, as expected.

will improve its responsiveness based on what

you’re shooting.

It really will be important for us to ask our

subjects to ‘keep still’ while we take their photo!

All this is in addition to the ‘usual’ face and

eye recognition technology.

FAST CAPTURES

44

There’s an argument that we should be taking

PHOTO MODES

fewer photos not more as large shoots take

The G9 also offers its 6K Photo mode, shooting a

longer to edit.

burst of 18-megapixel still images continuously

at 30 fps, with no buffer limit.

Well, if you push the new Lumix G9 to its

limits, you could be spending a lot of time

editing!

assist in eliminating buffer limits, even when

backing up the shoot to the second card. Some

The G9 can capture raw files at 20 frames

There are dual SD UHS-II card slots which

per second with continuous autofocusing, or

manufacturers are only offering one of the fast

60 frames per second in single-shot AF mode.

SD UHS-II slots, but if you're using the second

These are science fiction specifications for a

card as a backup, you're only as fast as your

20-megapixel sensor.

slowest card. The Lumix solution is really the

only one.

There are a few things to keep in mind.

First, the G9 is a mirrorless camera, so there’s

no annoying blackout as you look through the

capturing 60 fps at 8-megapixel resolution, but

viewfinder.

of course, you want to ensure the shutter speed

selected will be fast enough to freeze the action

Second, if your finger is lightly on the shutter

The camera also offers a 4K Photo mode,

release, there’s a 0.4 second pre-burst feature,

as well.

which means even if you press the shutter fully

a fraction of a second too late, you’ll still get the

shooting modes, Burst when you press the

shot.

shutter button and the camera keeps shooting

until you stop pressing; Start/Stop when

And even at 20 fps, you’re getting

The 6K/4K Photo feature comes with three

continuous autofocusing. The Lumix G9 claims

pressing the shutter starts the camera shooting

to have an industry-leading autofocus response

and pressing again stops it; and Pre-Burst

time of just 0.04 seconds.

which means the camera is already recording

everything and once you press the shutter, it

Interestingly, the autofocus system can be

45

NEWS

will retain (record) the last 30 - 60 frames already

even for the stalwart DSLR user.

taken.

The G9 feels a little larger in the hand with

a generous and comfortable grip, but at 579

VIEWFINDER

grams for the body, the camera is a lightweight

So, has the electronic viewfinder come of age?

still. For DSLR users especially, we are told,

For many photographers, the optical viewfinder

there’s an LCD readout on the camera’s top

is now the novelty and certainly the G9’s EVF is

deck, providing an immediate readout of all the

bright and clear - plus you have the advantage

camera’s key settings. Yes, you can also find this

of seeing exactly what the sensor will be

information on the rear LCD screen.

recording in terms of exposure, focus and

framing.

cast front and rear frame and is splash, dust and

freeze proof down to -10C.

Spectacle wearers can choose between

The G9 features a magnesium alloy, full die

three magnifications so they should always be

able to see 100 per cent of the 3,680K-dot OLED

means you can tap into your in-seat power

(Organic Light Emitting Diode) display.

when next you’re flying or you can attach a

portable USB power bank, which maybe very

The new technology delivers a smooth 120

Charging is by a USB connector, which

fps display with a minimum time lag of less than

useful if you’re shooting a long night exposure

0.005 second and an excellent contrast ratio of

or time lapse sequence. Running out of battery

10,000:1.

power has been solved as the camera will

run off an external USB power supply while

Within the viewfinder, you’ll find the

AF Point Scope, a new feature with wildlife

operational!

photographers in mind, but of interest to

anyone wanting to ensure precise focusing.

a vertical hand grip (optional extra) and there’s

While using autofocus, you can zoom in on the

not much you’re missing on Panasonic’s Lumix

EVF (or the LCD screen) to check the critical

G9.

focus point. On the rear of the camera, a

270-degree tilting 3.0-inch LCD screen boasts

a RRP of $2499 for the body only, or $3499 with

1040K-dot resolution with touch control.

either a Leica 12-60mm f2.8-4.0 lens or a pro 12-

Add in Bluetooth and wireless connectivity,

The G9 will be available in January 2018 with

35mm f2.8 lens.

IN THE HAND

46

There’s no doubt Panasonic is making the

For more information,

mirrorless design more and more appealing,

visit www.panasonic.com.au.

47

EDUCATION

Epson EcoTank Expression ET-7750/7700 Looking for a printer that doesn't need a change of ink for two years, prints office documents as well as photographs, and won't break the bank? Check out the new EcoTank Expression models from Epson.

TAGS Equ ip m e n t Pr in ter s Ep so n

Epson's EcoTank Expression Premium ET-7750

even when sharing the printer with multiple

and ET-7700 multi-function photo printers

PCs around the home or office.

come with a 5-colour ink system and up to

two years worth of ink included. That's around

which makes sharing them on any network

14,000 pages in black or 9,000 in colour.

simple and straightforward and users can easily

print direct from their tablet or smartphone

The ET-7750 prints borderless up to A3 while

The printers also have built in Ethernet

the ET-7700 prints borderless up to A4 and both

using Epson Connect solutions. You can also

include paper and photo trays, plus built-in USB

scan documents and save them to the cloud for

and memory card slots.

easy access and collaboration.

According to Epson, serious home, small

Epson has made navigating the printers’

office and semi-pro photographers have the

menu particularly easy with a bright 2.7" TFT

freedom to print thousands of high quality

colour LCD screen and user friendly control

photos and documents hassle-free for one

panel buttons, making printing of photos,

upfront price.

reports, invoices and presentations and the

PC-free scanning and copying of high-quality

When more ink is finally needed, additional

high-volume bottles can be purchased for

colour or black-and-white documents easier

under $30 each.

than ever.

The new printers have all the functions

The Epson EcoTank Expression ET-7750

you need to create lab quality photos and 4x6�

and ET-7700 printers are backed by a two year

borderless photos in just 27 seconds.

Return-to-Base warranty, and you can receive

an additional two years bonus warranty by

As with most Epson printers, the Expression

ET-7750 and ET-7700 support the latest wireless

registering online.

standard, 802.11n and include Wi-Fi Direct,

48

which means not only is no router required,

Available from www.epson.com.au and Epson

but you get greater coverage and faster speeds

resellers for $999 (ET-7750) and $799 (ET-7700)

Epson's EcoTank Expression ET-7750.

49

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de: BPM AG 31/12/ 2016

Peter Eastway’s

Online Landscape Photography MasterClass Learn the art, craft and business of landscape photography with a member-only subscription to Peter Eastway’s Landscape Photography Masterclass. The online delivery includes 18 classes (each comprising 3 movies and 3 articles), featuring equipment, techniques, inspiration and Photoshop post-production. Start at any time. Learn at your own pace. There are no exams! Replay and re-read as often as you like. And share your comments and ideas with other MasterClass members. To view, read and experience a free sample Landscape Photography MasterClass, please visit our website and follow the links ...

www.betterphotography.com Landscape Photography MasterClass - Contents

50

FINE ART MOVIES

KNOWLEDGE

JOURNEY

ACUMEN

POST-PRODUCTION

1. Monte Fitz Roy, Patagonia 2. Mount Nemrut, Central Turkey 3. Cape Palliser, New Zealand 4. Cappella di Vitaleta, Tuscany, Italy 5. Elephant Island (Iceberg At Sea) 6. Pilbara Storm, Western Australia 7. Steeple Jason, Falkland Islands 8. Nevis Tree, South Island, New Zealand 9. Zabriskie Point, Death Valley, USA 10. Oxer Lookout, Karijini, Western Australia 11. Segovia Castle, Central Spain 12. Great Barrier Reef, Australia 13. Western Macdonnells, Central Australia 14. St Gregory’s, Ani, Eastern Turkey 15. Weano Gorge, Karijini National Park 16. Clinging Tree, Dales Gorge, Karijini 17. Ishak Pasha – The Mosque Behind 18. Stirling Ranges, South Western Australia

1. Which Cameras Are Best for Landscapes?

2. The Best Lenses For Landscapes 3. What Is The Best Aperture To Use? 4. Camera Support For Maximum Clarity 5. Camera Bags - Sensible Approaches 6. Landscape Photography Accessories 7. Colour Temperature & How It Works 8. Correct Exposure And The Histogram 9. Using The Light For Landscapes 10. How To Stitch Panoramas 11. Archival Landscape Prints 12. How To Shoot Aerial Landscapes 13. Composition Part 1: Subject Matter 14. Composition Part 2: Framing & Cropping 15. Composition Park 3: Viewpoint 16. Composition Part 4: Placing The Horizon 17. Composition Part 5: Centre of Interest 18. Composition Part 6: Rule of Thirds

1. Patagonia, South America 2. Favourite Places In Turkey 3. Favourite Places in South West USA 4. Favourite Places In Italy 5. Central Spain for Castles 6. The Pilbara, Western Australia 7. Easter Island, Pacific Ocean 8. Niseko, Hokkaido, Japan 9. Shooting The Pyramids, Egypt 10. Hamilton Island, Australia.

11. Queenstown, New Zealand 12. Ancient Ani, Eastern Turkey 13. Amazing Papua New Guinea 14. Karijini National Park, Western Australia 15. Cruising For Landscape Photographs 16. Reaching Your Destination 17. Scotland & The Isle Of Skye 18. Antarctica & The Southern Islands

1. Potential Markets for Landscape Photos 2. How To Price Your Landscape Prints 3. Creating Landscape Prints For Sale 4. Publishing A Book of Landscapes 5. Publishing A Book How Finances Work 6. Presentation: Why It’s So Important 7. Setting Up Your Own Website 8. Setting Up An Exhibition 9. Shooting For Books & Magazines 10. Limited Edition Print Sales 11. Computer Power - Do You Need More?

12. Landscape Print Sales Paperwork 13. Print Sizes And Paper Surfaces 14. Shooting Landscapes That Sell 15. Getting Photos Published With Words 16. Do You Need A Business Plan?

17. Which Photo Editing Software?

18. Where To Now That You’ve Finished?

1. RAW Conversion Technique 2. Darkening & Lightening With Soft Light 3. Multiple RAW Conversion Technique 4. Luminosity Masking Technique 5. Colour Balance – Getting It Right 6. Local Contrast – Two options in Photoshop 7. Vignetting – How It Can Improve Images 8. Lab Color - Full Control in Photoshop 9. Nik Software - Using Viveza Plug-in 10. Photomerge For Stitching 11. Channels for Hue/Saturation Adjustments 12. Making Selections In Photoshop 13. Sharpening In Photoshop 14. Black & White Conversions 15. Focus Stacking (Helicon Focus) 16. Lightroom Catalogs for Landscapes 17. Big Black & White Punchy Landscapes 18. High Pass Filter For Landscapes With Pop!